Avid High Resolution and Color Workflow Guide
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Problems on Video Coding
Problems on Video Coding Guan-Ju Peng Graduate Institute of Electronics Engineering, National Taiwan University 1 Problem 1 How to display digital video designed for TV industry on a computer screen with best quality? .. Hint: computer display is 4:3, 1280x1024, 72 Hz, pro- gressive. Supposing the digital TV display is 4:3 640x480, 30Hz, Interlaced. The problem becomes how to convert the video signal from 4:3 640x480, 60Hz, Interlaced to 4:3, 1280x1024, 72 Hz, progressive. First, we convert the video stream from interlaced video to progressive signal by a suitable de-interlacing algorithm. Thus, we introduce the de-interlacing algorithms ¯rst in the following. 1.1 De-Interlacing Generally speaking, there are three kinds of methods to perform de-interlacing. 1.1.1 Field Combination Deinterlacing ² Weaving is done by adding consecutive ¯elds together. This is ¯ne when the image hasn't changed between ¯elds, but any change will result in artifacts known as "combing", when the pixels in one frame do not line up with the pixels in the other, forming a jagged edge. This technique retains full vertical resolution at the expense of half the temporal resolution. ² Blending is done by blending, or averaging consecutive ¯elds to be displayed as one frame. Combing is avoided because both of the images are on top of each other. This instead leaves an artifact known as ghosting. The image loses vertical resolution and 1 temporal resolution. This is often combined with a vertical resize so that the output has no numerical loss in vertical resolution. The problem with this is that there is a quality loss, because the image has been downsized then upsized. -
Viarte Remastering of SD to HD/UHD & HDR Guide
Page 1/3 Viarte SDR-to-HDR Up-conversion & Digital Remastering of SD/HD to HD/UHD Services 1. Introduction As trends move rapidly towards online content distribution and bigger and brighter progressive UHD/HDR displays, the need for high quality remastering of SD/HD and SDR to HDR up-conversion of valuable SD/HD/UHD assets becomes more relevant than ever. Various technical issues inherited in legacy content hinder the immersive viewing experience one might expect from these new HDR display technologies. In particular, interlaced content need to be properly deinterlaced, and frame rate converted in order to accommodate OTT or Blu-ray re-distribution. Equally important, film grain or various noise conditions need to be addressed, so as to avoid noise being further magnified during edge-enhanced upscaling, and to avoid further perturbing any future SDR to HDR up-conversion. Film grain should no longer be regarded as an aesthetic enhancement, but rather as a costly nuisance, as it not only degrades the viewing experience, especially on brighter HDR displays, but also significantly increases HEVC/H.264 compressed bit-rates, thereby increases online distribution and storage costs. 2. Digital Remastering and SDR to HDR Up-Conversion Process There are several steps required for a high quality SD/HD to HD/UHD remastering project. The very first step may be tape scan. The digital master forms the baseline for all further quality assessment. isovideo's SD/HD to HD/UHD digital remastering services use our proprietary, state-of-the-art award- winning Viarte technology. Viarte's proprietary motion processing technology is the best available. -
The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film. -
Workshop Memoriav Fachtagung Erfolgsfaktoren & Stolpersteine
Workshop Memoriav Fachtagung Erfolgsfaktoren & Stolpersteine. Lernen aus 20 Jahren Memoriav-Projekten Identifikation der physischen Elemente eines Films, Auswahl für Restaurierung und/oder Digitalisierung; Kommunikation mit Dienstleistern (Pflichtenheft schreiben, Offerten lesen) 20. Mai 2016 – David Pfluger > Dilemma Vorbereitung Konservierung Restaurierung 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Dilemma Vorbereitung MEMORIAV EINGABE Konservierung Restaurierung 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Dilemma Unbekannt Zustandsanalyse Technische Priorisierung Inhaltliche Analyse Vorbereitung Inhaltliche Priorisierung Recherche externer Elemente Bekannt MEMORIAV EINGABE Vorbereitung des Materials Konservierung Digitalisierung Restaurierung 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Dilemma Unbekannt Zustandsanalyse Technische Priorisierung Inhaltliche Analyse Vorbereitung Inhaltliche Priorisierung Recherche Bekannt ! MEMORIAV EINGABE Vorbereitung Konservierung Digitalisierung Information zum Inhalt Restaurierung 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Dilemma • Metainformationen aus dem Bestand (Vorsicht!) • Bestehende Transfers (Vorsicht!) • Analyse am Sichtungstisch 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films FILMBILD 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films TON FILMBILD UNTER TITEL 20. Mai 2016 – David Pfluger – Workshop Memoriav Fachtagung > Elemente eines Films META TON -
From Film to DIGITAL
from film TO DIGITAL CTM DEBRIE CATALOGUE CTM Debrie 125, avenue Louis Roche 92230 Gennevilliers France T. +33 1 40 85 82 82 F. +33 1 40 85 82 63 E. [email protected] www.ctmdebrie.com sommaire a word from theCEO 04 About CTM Debrie 06 Experts across the complete Film chain 08 About CTM Solutions Over the course of 100 years, Debrie has acquired an international 10 Experts across Post Production tools reputation as the leading manufacturers of film laboratory equipment. 12 Engineering – R&D The 1992 merger with CTM, a forward-looking company in the post- 13 Turn Key Projects – CTM Group production equipment, broadened Debrie’s product line, thus allowing 14 Production & Front end laboratory chain the newly formed corporation, CTM Debrie, to supply clients with a 15 D / I & DVD chain wide range of machines for the motion pictures industry, for the 16 Restoration chain preservation of and the restoration of moving images. 17 Film processing machine – UNIPLEX III & VARIPLEX 21 Auxiliary equipment for UNIPLEX & VARIPLEX In the nineties, we also developed a parallel organization 23 Wet & dry Contact Printer – MOVIECLONE Series under the name of CTM Solutions, acting as a seller and integrator of 25 Optical printer – MAGIC Series professional audio and video solutions. Specializing in the integration 27 Auxiliary equipment for printers of editing and filming studios, as well as dubbing studios, our goal was 29 Loop cabinet – LOOPER to be able to fully provide and service the post-production chain, from 31 Film splicing table – ECLIPSE the engineering to the training of users. -
Indira Gandhi National Tribal University Amarkantak 484887 (M.P.)
Indira Gandhi National Tribal University Amarkantak 484887 (M.P.) Faculty of Technical, Vocational Education & Skill Training Notes B.Voc. theatre, Stagecraft, Film Production & Media Technology Subject : - Basic Audio Video Production Unit 1 What is Cinematography ? Cinematography is the art of visual storytelling. Anyone can set a camera on a tripod and hit record, but the artistry of cinematography comes in controlling what the viewer sees (or doesn’t see) and how the image is presented. Film is a visual me- dium, and the best-shot films are ones where you can tell what’s going on without hearing any of the dialogue. With some basic knowledge of composition and scene construction, you can plan scenes using this visual language. Learn how different shots work together to form a clear, cohesive narrative and how to compose each shot in a way that is visually pleasing for the viewer. Understanding these simple rules will help make your films more thrilling and engaging. Basic Rules of Composition There are some simple cinematography techniques that will have a great impact in making your videos look more professional. The Rule of Thirds is a technique of dividing the frame up into a 3x3 grid, splitting your frame into nine boxes. Our natural impulse is to put our subject dead center, but a centered subject will look like they’re caught in a spotlight, and by dropping them in the center of the frame, it gives them nowhere to go. Instead, by positioning your action in any of the four vertices where those nine boxes meet, you create a balance in your composition that feels more natural. -
A Review and Comparison on Different Video Deinterlacing
International Journal of Research ISSN NO:2236-6124 A Review and Comparison on Different Video Deinterlacing Methodologies 1Boyapati Bharathidevi,2Kurangi Mary Sujana,3Ashok kumar Balijepalli 1,2,3 Asst.Professor,Universal College of Engg & Technology,Perecherla,Guntur,AP,India-522438 [email protected],[email protected],[email protected] Abstract— Video deinterlacing is a key technique in Interlaced videos are generally preferred in video broadcast digital video processing, particularly with the widespread and transmission systems as they reduce the amount of data to usage of LCD and plasma TVs. Interlacing is a widely used be broadcast. Transmission of interlaced videos was widely technique, for television broadcast and video recording, to popular in various television broadcasting systems such as double the perceived frame rate without increasing the NTSC [2], PAL [3], SECAM. Many broadcasting agencies bandwidth. But it presents annoying visual artifacts, such as made huge profits with interlaced videos. Video acquiring flickering and silhouette "serration," during the playback. systems on many occasions naturally acquire interlaced video Existing state-of-the-art deinterlacing methods either ignore and since this also proved be an efficient way, the popularity the temporal information to provide real-time performance of interlaced videos escalated. but lower visual quality, or estimate the motion for better deinterlacing but with a trade-off of higher computational cost. The question `to interlace or not to interlace' divides the TV and the PC communities. A proper answer requires a common understanding of what is possible nowadays in deinterlacing video signals. This paper outlines the most relevant methods, and provides a relative comparison. -
Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills...................................................... -
185 for Presentation July 8, 1971, NATIONAL CABLE TELEVISION
185 For presentation July 8, 1971, NATIONAL CABLE TELEVISION ASSOCIATION, Washington, D. C. TELECINE SYSTEMS FOR THE CATV ORIGINATION CENTER by Kenneth K. Kaylor Phil ips Broadcast Equipment Corp. Although 11 1 ive'' programming is considered a necessary part of the program origination services of a community-oriented CATV system, tele- cine facilities will hold the key to success or failure of such an operation from an economic standpoint. The word 11 tele-cine11 was developed during the early days of television broadcasting to define those facil i- ties devoted to the video reproduction of the various film media. Since the original commercial telecine television camera was an 11 iconoscope11 camera which had a very large sensitive surface (about 11 11 3 x 4 ), a film projector was focused onto the sensor by using a standard projection lens as shown in Fig. 1. This technique was quite simple and optical alignment was very easy. E1 im i nat i ng the 11 Shutte r Bar" effect In the case of motion picture film, the theatre projector had to be modified in order to prevent a "shutter bar" effect caused by the 186 difference in frame rates between television and motion picture stan dards. Standard sound motion picture film operates at 24 frames per second while the U. S. standard for television scanning is 30 frames per second. The intermittent mechanism had to be modified so that the 1ength of time between "pu 11 -downs" a 1 te rnates between 1/20 and 1/30 second. The average of these two fractions is 1/24 second, or the time demanded by the standard 24-frame-per-second motion picture projection rate. -
American Vandal Episode
American Vandal Episode 101: The Crime Vandalism, Vulgarity and Destruction on March 15, 2016 written by Tony Yacenda and Dan Perrault TEASER EXT. THE HOME OF DYLAN MAXWELL - ESTABLISHING - DAY A modest southern California house with a patchy yard and a 2001 Acura parked in front of a one car garage. SUPER: April 2, 2016 INT. THE HOME OF DYLAN MAXWELL - KITCHEN - DAY DYLAN MAXWELL, 17, sits in a chair facing the camera. The framing is awkward; we see a light at the top of the frame as PETER ANDERHOLM, 15, slips a lav mic down Dylan’s Etnies T- shirt. PETER (O.C.) (PRELAP) Tell us your name and who you are. JUMP CUT: INT. KITCHEN - MOMENTS LATER A well composed interview setup. Dylan looks right into the camera. DYLAN My name is Dylan Maxwell. And I’m... I don’t know. I’m Dylan. What do you mean who am I? PETER It’s okay. You can look at me and not the camera. Dylan, why am I here interviewing you? DYLAN Because I didn’t fucking do it. PETER Didn’t do what? DYLAN The dicks. Cue music. Begin montage: 2. LOCAL NEWS REPORT - EXT. STAFF PARKING LOT - DAY The camera pans across the staff parking lot at Hanover High School. We see graffiti on dozens of cars. It’s all blurred. FEMALE REPORTER (V.O.) It was supposed to be a quiet “Administrative Day” at Hanover High - a day off for students as teachers took part in a series of mandatory faculty meetings. But there was one student activity that did, in fact, take place: vandalism. -
(12) United States Patent (10) Patent No.: US 6,778,252 B2 Moulton Et Al
USOO6778252B2 (12) United States Patent (10) Patent No.: US 6,778,252 B2 Moulton et al. (45) Date of Patent: Aug. 17, 2004 (54) FILM LANGUAGE 5,880,788 A 3/1999 Bregler 5,884.267 A 3/1999 Goldenthal et al. (75) Inventors: William Scott Moulton, Kentfield, CA 6,097,381 A 8/2000 Scott et al. (US); Steven Wolff, Woodacre, CA OTHER PUBLICATIONS (US); Rod Schumacher, Los Angeles, CA (US); Andrew Bryant, San Diego, Bregler et al., “Video Rewrite: Driving Visual Speech with CA (US); Marcy Hamilton, Los Audio,” ACM Siggraph 97, Interval Research Corporation, Angeles, CA (US); Strath Hamilton, No.97, (Mar. 8, 1997). Los Angeles, CA (US); Dana Taschner, Ezzat et al., “Mike Talk: A talking Facial Display Based on Sunset Beach, CA (US) Morphing Techniques,” Proceedings of Computer Anima tion Conference, (Jun. 8, 1998). (73) Assignee: Film Language, Los Angeles, CA (US) Ezzat et al., “Visual Speech Synthesis by Morphing Visemes.” A.I.Memo, MIT, No. 165, (Mar. 8, 1999). (*) Notice: Subject to any disclaimer, the term of this Brand et al., “Voice-Driven animation.” TR-98-20, Mitsub patent is extended or adjusted under 35 ishi Electric Research Laboratory, (Mar. 8, 1998). U.S.C. 154(b) by 53 days. Burnett et al., “Direct and Indirect Measures of Speech Articulator Motions. Using Low Power EM SEnsors,” XIV (21) Appl. No.: 10/027,191 International CongreSS of Phoenetic Sciences, Lawrence (22) Filed: Dec. 20, 2001 Livermore National Laboratory, (Mar. 8, 1999). e a Vs (65) Prior Publication Data (List continued on next page.) Primary Examiner Rodney Fuller US 2002/0097380 A1 Jul.• 4-225, 2002 74Y A ttorney,y, AgAgent, or Firm-SanfordFirm-Sanfor AstO Related U.S. -
Aspects of Television Temporality
Aspects of Television Temporality By Andrzej Gwóźdź Fall 1999 Issue of KINEMA ON SOME ASPECTS OF TELEVISION TEMPORALITY If there is a film that makes the way of existence of its images the object of its discourse, then Cinema Paradiso (Nuovo Cinema Paradiso, by Giuseppe Tornatore, France/Italy, 1989) undoubtedly is that film. It is just here that in an almost demonstrative way the duality of a film iconosphere is shown: a pictorial passage on a film reel on the one hand, and immateriality of die luminous screen phantom on the other, a”film-reel” and a ”film-projection.”(1) It is here that the cinema shows its ontology as a mechanism of difference between materiality of a fundamental cinematographic apparatus and immateriality of a cinematic mechanism that actually results in the source of the cinema. If we were to look for a similar justification for the ontology of television, we would surely have to locate it within the ”time of expression,” that is, temporality immanent to a television image on which the ”time of contents” (2) of a programme structure of television is founded. Since theoreticians of the media agree that it is just time that is ”the major category of television,” that ”time is television’s basis, its principle of strutcturation, as well as its persistent reference”(3); that ”the attitude towards television should be basically derived from temporality”(4); that, finally, ”the essence of the [television] screen is [...] its permanent readiness to experience time.(5)” No matter what stratification of the time of television (television time) is suggested by particular writers, they usually agree on the fundamental ontological premise of television temporality.